Videos


fxphd – MYA206 – Maya Animation and Compositing : Red Dwarf
Long time fxphd professor Matt Leonard dives into production with his new course covering work he did for Red Dwarf: Back to Earth. Leonard is our leadMaya professor, but he is also an adept compositor who uses tools such as Nuke and Fusion. For this course, he’ll be walking through the entire productionprocess of his work on the show — from pre-production to on-set to the final composite. He’ll cover all the angles of delivering great animation and a realisticcomposite in this hard core hands-on course.More details to come about the course once the mini-series airs in the UK the weekend of April 11th.

Professor: Matt Leonard (mattdleonard)
Class 1: Pre-Production and Working On-Set
Class 2: Live Action Tracking using PFTrack 5
Class 3: Modelling Characters in Maya 2009
Class 4: Rigging Realistic Acting in Maya 2009
Class 5: Painting with Light, Texturing and Lighting in Maya 2009
Class 6: Timing for Animation, the Art of Performance
Class 7: Animation, Bringing Life to Animation using Maya 2009
Class 8: Multipass Rendering using mental ray
Class 9: Integrating the 3D into the Live Action Plate using Nuke 5.1
Class 10: Adding Realism to the Final Shot, Advanced Compositing in Nuke 5.
Download Link

The Watch Tutorial Series 3DsMax and V-ray

Video: AVC, 1600 x 860, 1.860, 20.000 fps, 599 Kbps I Audio: AAC, 44.1 kHz, 53.6 Kbps, 2 channels

In this series i will show you how to make the modeling, lighting, shading and rendering of a 3D beautiful watch in 3ds max and VRay.

Info

Size: 1.5 gb
Format: mp4
Language:English
Project Files: Included
Year: 2011

Download Links:-

http://www.url-dead/folder/7181601

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http://www.wupload.com/folder/114271



During our adventure, dealing with pure data will enable us not to just transfer the data between different parts of our production line, but to manipulate this data, and customize it the way we need to suit our use, AND MAYBE ( as in our course ) to invent a new solution for an old problem using two cameras to capture human movement and automatically transfer the data into a custom character in 3D, without the need of expensive motion capture device or other solution.

We can also, create our own data file format and extension to package special kind of data for use in other programs or to save this data out to disk. We will create tools to save our character and camera’s animation in .CSM file or other custom file format to use that animation in other program ( Max, Maya and Endorphin in this course ) or to save it to disk, or even to send it by internet for general use, such as usual BVH and CSM motion capture files.

You don’t have to be skilled rigger, match mover, Max scripture or Mel genius to understand and to practice doing and creating these tools in this course. We started from scratch just like you will. (We do not hide anything from you) The learning structure used in these videos, gears all users up to be able to follow its contents from start to beginning. This is one of the few videos made that allow a novice or experienced TD’s and mid level 3D artist the ability to learn on the same level.

Capturing ( character tracking ) a woman movements with two cameras :

In this chapter, we will talk about character tracking using two different cameras with angle differences. ( the conditions and the best solution ) Then we will go through the process of tracking the movement of a woman from two additional HDV cameras, using Autodesk MatchMover step by step (solid tracking method ), then we will create a coordinate system, and export the tracks of the woman and the cameras into 3DMax. Following that, we then setup the 3D scene to receive match-mover data correctly.

Building a CSM ( character studio motion capture data file ) from scratch:

In this section of the video we will explain Motion capture file structure ( CSM mainly ), and how to extract information from this kind of files, then we will go through the process of applying those files into characters in 3d ( Character Studio in this case ). (NOTE: The process that we show can be used in other file formats in almost the same manor. Your not locked to 3DMax)

Baking and Application

In this portion of the video we will build a custom CSM exporter to save the MatchMover tracks as .CSM file, then we will use this file to Automatically control our character in character studio transforming track data into typical motion capture file ready to use on any character. During this process, we will build a custom baking keys utility for our tracks.

All the material ( live footage ( Red, 35 mm, and HD ), and motion control flair data ) used in this course, are used in real commercials, to transfer all real production conditions through this long course.
We are not assuming ideal conditions which can work for specific lab work, but we preferred to bring real stuff, real problems, such as daily VFX work so that you too can fix those problems during the course, and to mimic real production line circumstances, step by step.


http://www.cmivfx.com/tutorials/view/301/Camera+Based+Motion+Capture

http://www.url-dead/file/1290021984/CMIVFX_Camera_Based_Motion_Capture.part1.rar
http://www.url-dead/file/1290012964/CMIVFX_Camera_Based_Motion_Capture.part2.rar


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Thanks to the Supplier

FXphd – VFX101 – Intro to Compositing with Ron Brinkmann

MOV | h264 825kbps | English | 960×540 | 23.97fps | 5h 48 mins | aac mono 48kbps | 3 GB
Each week, Ron Brinkmann and Mike Seymour explore the fundamentals of visual effects compositing. Brinkmann is well known throughout the industry; a visual effects supervisor who co-founded Nothing Real and helped create Shake. More recently he has served as an advisor on The Foundry’s Nuke compositing software. He is author of the recently released second edition of The Art and Science of Digital Compositing (Morgan Kaufmann). This book forms the foundation of the course, and the weekly discussions expand upon the principles found in the text.

Class 1: Accuracy vs Art. And how our minds can be tricked. It is art and science.
Class 2: Compositing hierarchy: who has what roles?
Class 3: Camera issues and greenscreen
Class 4: Resolution, colour space and formats
Class 5: Roto and keying
Class 6: 3D tracking and on set
Class 7: Matte painting. morphing, and telegraphing effects
Class 8: 3D multipass rendering and lens curvature
Class 9: Bit-depth, compression, codec and aspect ratio.
Class 10: Selling the shot

Download Links:-

http://www.url-dead/file/1298266831/VFX101.Intro.to.Compositing.part01.rar
http://www.url-dead/file/1298288811/VFX101.Intro.to.Compositing.part02.rar
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FXPhd – MTH101 – Mathematics For Visual Effects & Design

10xDVDRip | AVI / XviD, 793 kb/s | 960×540 | ~10×30 min | English: AAC, 48 kb/s (2 ch) | 2.63 GB

This course aims to provide a basis for Maths for the Artist that says “If I’d known Maths would have been central to effects and animation I would have paid attention in school!” Mike Seymour works through the major areas of maths that are useful to understand for visual effects and animation. This really is a maths course, teaching you both actual maths and the principles of areas of maths in more advanced areas. The aim is to equip you with the tools you need and to demystify the jargon – so you can understand the principles and approaches we use maths for everyday in production and post.

Course Lecture Titles:
Class 1: Introduction to Maths – some useful concepts and an outline of the major areas of maths
Class 2: Co-ordinate systems, simple matrix, vectors and dot product. Plus, a tutorial on some of the basic concepts covered in the class
Class 3: Vector addition and Subtraction – normals
Class 4: Fibonacci sequence, Pi, the Golden ratio, noise and turbulence.
Class 5: Algebra and factoring equations
Class 6: Equation solving using Matrix multiplication and the Unity Matrix
Class 7: Velocity, Acceleration and Gravity
Class 8: Calculus part 2: Integral and Differential equations
Class 9: Fourier Transforms
Class 10: Putting it all together: how everything you have learnt this term can unlock a Siggraph paper

Download Links:-

http://www.url-dead/file/1298230031/Mathematics.for.Visual.Effects.and.Design.part01.rar
http://www.url-dead/file/1298229991/Mathematics.for.Visual.Effects.and.Design.part02.rar
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Completely redesigned from the ground up, Final Cut Pro adds extraordinary speed, quality, and flexibility to every part of the post-production workflow.

Revolutionary Video Editing
? Assemble clips in the Magnetic Timeline without clip collisions or sync problems.
? Use Clip Connections to attach B-roll, sound effects, and music to the timeline.
? Reduce clutter by grouping clips into a Compound Clip. Easily expand it back to single clips.
? Perfect your pacing right in the timeline with the Inline Precision Editor.
? Cycle through different shots, graphics, or effects at one place in the timeline with Auditions.

Powerful Media Organization
? Import a broad range of formats including native AVCHD, H.264 from DSLRs, and more.
? Content Auto-Analysis captures camera metadata and analyzes shots in the background.
? Choose analysis options for stabilization, rolling shutter correction, and audio enhancement.
? Create and apply custom keywords on the fly as you select ranges in clips.
? Smart Collections let you dynamically organize content and find any shot in a few clicks.

Incredible Performance
? New 64-bit architecture uses all the RAM in your system for larger projects and richer effects.
? The Cocoa foundation makes Final Cut Pro more responsive, interactive, and fun to use.
? Final Cut Pro taps the GPU on the graphics card and all the cores in your Mac for speed.
? Background processing lets you keep working without interruption.
? A ColorSync-managed color pipeline produces accurate, consistent color across applications.

Compelling, Customizable Effects
? Preview effects to see how they look with your footage before applying them.
? Change the look of titles, transitions, and effects using intuitive controls.
? Control effects with precision using a keyframe editor that appears directly in the timeline.
? Adjust the Ken Burns effect with simple onscreen arrows for start and end points.

Integrated Audio Editing
? Let Final Cut Pro repair significant audio problems such as hum, excessive noise, and more.
? Sync DSLR video with separate audio in a single step, with instant audio waveform matching.
? Enrich your soundtrack with a library of royalty-free sound effects and audio effect plug-ins.
? Create immersive audio experiences in 5.1 surround.

Intuitive Color Grading
? Improve the look of any clip with the single-click Balance Color feature.
? Apply the Match Color feature to match the looks of two clips shot under different conditions.
? Manipulate color, saturation, and exposure with the Color Board.
? Fine tune color for a specific color range or area of the screen using keying and masks.

One-Step, Optimized Output
? Export projects to Apple devices and websites such as Vimeo, YouTube, and Facebook.
? Add your content to a set of themed menus, then burn a DVD or Blu-ray disc.
? Output files for HTTP live streaming in a single step.

System Requirements: 2GB of RAM (4GB recommended), OpenCL-capable graphics card or Intel HD Graphics 3000 or later, 256MB of VRAM, display with 1280-by-768 resolution or higher, 2.4GB of disk space.



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http://cgpeers.com/torrents.php?id=3810







Introduction

In this part of the video, you will be introduced to the 3 different projects that you?ll be producing and what assets were used within the training, particularly the car model and the HDRI + Backplates pack. There will be a brief description of how to install scripts, the Gamma 2.2 workflow and how to map useful commands to hot keys in order to speed up your work.

Mesh Considerations
Modo can import several file formats. Choosing the right one, considering the situation, is very important to get you the right results. The three file formats that will be discussed are OBJ, FBX and Collada. Each one operates differently depending on the situations and will be tested with our geometry. Sometimes, moving data through different packages might generate unclean geometry, requiring minor fixing would be necessary for getting good results. Since the imported model is very detailed, having some degree of complexity, proper organization is paramount for the rigging process. You?ll learn how to rig this model using the new Schematic View in order to better pose your model.

Studio 01 Setup, Clay Rendering
A studio environment is very fast to setup in Modo. You?ll learn how to achieve this quickly to correctly visualize your model with a simple light rig. you will also go through creating material presets for later reuse and how to render several types of clay shots to showcase the model geometry through the help of a simple composite in After Effects.

Studio 02 Setup, Photo-realistic Rendering

In this chapter, you?ll learn how to take advantage of the Render Tree to modify the previous environment, maintaining its essence and updating the light rig. You will go through creating new material presets for later reuse and to properly use reflectors to illuminate and enhance the look of your model. (Very similar to a live photography set) Many Render Outputs will be later compositing in After Effects.
Using HDRI and Back-plates?In this chapter you?ll learn how to integrate your model with a photo backplate, using an HDR image for lighting and nice reflections to help achieve this effect. You will need several Render Outputs to enhance in the final After Effects Compositing stage.


http://store.cmivfx.com/tutorials/view/296/Modo+Automotive+Visualization

http://www.url-dead/file/1284576054/Modo_Automotive_Visualization.part1.rar
http://www.url-dead/file/1284581804/Modo_Automotive_Visualization.part2.rar
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Thanks to the Supplier


This course, taught by Matt Leonard, is going to be slightly different from our other Maya offerings because we?re going to be working alongside a new and very exciting project called ?Moving Day?. This short film is being directed by award wining director Jason Wingrove. ?Moving Day? tells the story of a young girl and her fight against the fairies who inhabit the garden of her new home. Our short film is literally being produced throughout the term and we?ll have first hand experience of working in post during a live project.

Class 1:
In our first class we look at the Moving Day storyboards, Script and Animatic. We then go on to look at our Maya multipass render setup and how we’ll be compositing that inside of Nuke. We also cover render time predictions and other pre-production issues.

Class 2:
In our second class we begin by looking at reference material gathered over the week. We then go on to look at some basic fairy wings built in Maya with the aim of producing some reference animation. The second half of the class is centered on building a UV pass in Maya and using it in conjunction with the STMap tool in Nuke.

Class 3:
In our third class we look at some shots from on-set and begin modeling the wings.

Class 4:
Class 4 begins a two week test for Moving Day. This week we will be modeling, rigging and animation our fairy wings using the green screen plate as a reference guide along with PFTrack data.

Class 5:
Class 5 continues on in our Moving Day test. This week we add textures to our wings, light the scene based on the background plate, setup the render passes and finally the other render settings. We then move into Nuke for the second half of the class to composite the CG into the background plate, pull a key on the green screen fairy element and add reflections.

Class 6:
In this class we look at creating a dynamically driven ragdoll which can be animated via dynamics instead of keyframing.

Class 7:
Guest prof Yannick Meillier covers matchmoving the farie shots.

Class 8:
In this class we look at Maya custom project settings, new wing setup, animation, shaders and render layers, Nuke compositing, particle Instancing and particle Sprites.

Class 10:
This class is Part 2 of a 2 part series looking at compositing for Moving Day. In this class we look at multipass compositing and making a custom edge blur tool.


http://anonym.to/?http://www.fxphd.com/fxphd/courseInfo.php#MYA301

http://www.url-dead/file/1285416154/MYA301 – Maya in Production Moving Day.part01.rar
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Thanks to the Supplier